Odon lechner biography

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  Ödön Lechner

  Hungarian architect

  The native form of this personal name is Lechner Ödön. This article uses Western name order when mentioning individuals.

  Ödön Lechner (born Eugen Lechner; 27 August 1845 – 10 June 1914) was a Hungarianarchitect, one of the prime representatives of the Hungarian Szecesszió style, which was related to Art Nouveau in the rest of Europe, including the Vienna Secession. He is famous for decorating his buildings with Zsolnay tile patterns inspired by old Magyar and Turkic folk art, which are combined with modern materials such as iron.

  Lechner's work was submitted in 2008 for inclusion on the World Heritage List.^[2]

  Early career and travel

  Lechner was born in Pest into a bourgeois family. His father, János Lechner (1812–1884), of Bavarian descent, was a certified lawyer, capital tax collector, and owner of a brick factory, who married Terézia Schummayer (1817–1895).^[3][4] His paternal grandparents were János Lechner Nepomuk (1774–1845), the head of a building materials factory and the Royal Beauty

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  The man who gave Budapest colour: Ödön Lechner

  Why do we love Ödön Lechner so much? What is it about his buildings, with their winding tendrils, ornate tiles in the shapes of flowers and leaves, their shock of colour, their façades and rooflines which are so like glimpsing inside a fairy-tale, that inspire such awe and reverence? How could one man capture such grandeur in his creations? Everyone who has spent a little time in Budapest is familiar with the Grand Master of Art Nouveau, without whose buildings the city would be a little more grey and unimagined.

  Stop any local on the street, ask them to name three Hungarian architects and Ödön Lechner is bound to be on the list. He takes his place alongside Alajos Hauszmann and Miklós Ybl as a genius of Magyar architecture, and it is he alone who helped the whole country embrace that special brand of Hungarian Art Nouveau known here as Szecesszió.
  
  
  Walking around Budapest, his buildings grab the eye – and the imagination – and nearly convince us that we are in a magical world, rather than a major metropolis. This f